It comes later in the series in episode 10, as our protagonists Connell and Marianne (played by Paul Mescal and Daisy Edgar-Jones) are living apart for a year. [Note: Spoilers below.] She's studying in Sweden, and he's back at Trinity University in Dublin. They've been dancing around each other for years by this point in the narrative, never quite managing to turn their electric connection into a fully fledged relationship. A series of traumas -- the suicide of a school friend, Rob, and a terrible breakup with his girlfriend, Helen -- has sent Connell into a deep depression. He and Marianne stay in touch with email and texts while she is away, but this episode is shaped by their video chats over Skype.
The intimate scene happens as Connell is trying to explain his relationship with Marianne to his new therapist. In the middle of the conversation, we flash back to a video chat between Marianne and Connell. She tells him she's sorry to hear about his breakup; that even though they never got along she knew Helen made him happy. Connell isn't sure if he can feel happiness. He just feels flat, until he becomes anxious or panicked. "I'm so tired," he says, and Marianne responds, "Do you want to sleep? We can keep Skype on. Carry me over to your bed."
The next frame shows Connell asleep in bed, a white glow illuminating him. His laptop is on and shows Marianne writing at her desk in Stockholm. She puts a sweater on and adjusts her own laptop to watch him sleep. Later, we see him wake up. "You're awake," Connell says. "Morning," Marianne replies.
Would I care so much about the scene of Marianne distantly watching over Connell if I had seen it a few months ago? I certainly would have cared differently. "Normal People," Rooney's novel and the Hulu series, are pre-Covid-19 productions, but both perfectly understand the desires we place on communication technologies and the ways they nearly always come up short.
It's a romantic scene, sure, but more so it's a scene that demonstrates something we are told about Connell and Marianne throughout the series: They are best friends. They are better together than apart. They grow together, in a way that Rooney memorably analogizes when she writes at the end of the novel: "All these years they've been like two little plants sharing the same plot of soil, growing around one another, contorting to take room, taking certain unlikely positions." This simile of relationality over time isn't describing the shifting velocities of romantic love (though it can form one of the many rhythms of romantic love). It's marking the slow, "vegetable
" time of friendship.
These long blank periods of proximity and possibility can't be scheduled on Zoom. I live an ocean and several time zones from most of my friends and family, and FaceTime formed a big part of my friendships before lockdown. I can count individually the times I've seen dear friends in person since I moved abroad, friends I used to enjoy timeless nearness with whenever we liked. Now, in the dissimilar timelessness of lockdown, which has absorbed our prior sense of normal daily rhythms, those in-person meetings contain even more solace.
The scene of Marianne staying through the night with her friend who needs her encapsulates the essence of friendly intimacy, which I now realize, in our pandemic age, exists in its purest form without temporal pressure. When Marianne offers to "keep Skype on," she promises to extend the time of their togetherness beyond the red button. This is what's so hard about the distancing we're all experiencing right now. We no longer can replicate the expansive time of friendship, the time that the critic Anne Helen Petersen associates with "